Over twenty years of fashion in an exhibition that carries the atmosphere and the style of a period that has contributed, in an extraordinary way, to define the italian character in the international jet set. It is not about the history of the italian haute couture, it is rather the attempt to rebuild, the complex and ever-changing image of Italian fashion, in a choral story made up of many other stories that will give shape and texture to the great success of the label “made in Italy”.
To underline the complicity between art and fashion that has deeply characterized those years, the clothes of Emilio Schuberth and Sorelle Fontana, Germana Marucelli and Mila Schön, Sarli and Simonetta, and Gattinoni, Fendi, Balestra, Biki, Galitzine , Pucci and Valentino, dialogue with works by Lucio Fontana, Alberto Burri, Paul Scheggi and Massimo Campigli, and even Carla Accardi and Capogrossi, testimony of experimentation and vitality of an exceptional era. You will find , for one , the dress that drew the Sorelle Fontana in 1955 for Ava Gardner , was called “ little priest ” because he was inspired by the robes of cardinals . He is inspired by the historic mise of Anita Ekberg in La Dolce Vita by Federico Fellini. The dialogue with contemporary art is then enhanced by VB74, the performance that Vanessa Beecroft has designed specially for the inauguration of the exhibition on the theme of female identity. The exhibition also features the creations of Bulgari, the most famous Italian jeweler in the world, with a selection of unique pieces of great experimentation and stylistic innovation. One of the key words of this opening , repeated several times during the press conference and in several interviews, given by the president of the Foundation MAXXI, Giovanna Melandri was ” brulichio ” . It seems that this ” brulichio “ made too much noise , thanks to its great success , but also to the criticism , thaton dedicated to Italian fashion has caused . Curated by Maria Luisa Frisa , Anna and Stefano Tonchi Mattirolo, the exhibition has as main sponsor Bulgari , whose masterpieces are proudly displayed along the exhibition in the company of other milestones of Italian style. All dresses are definied by accessories by Ferragamo , Gucci , Roberta di Camerino. ; photographs which are a kind of time machine that carry the signature of Pasquale De Antonis , Federico Garolla and Ugo Mulas . Bellissima would like to reread the golden age in which was born the Italian style evoking the cultural dimension, from the years after the second World War to that fatal moment of contestation,, linking contemporary art, with a multi-faceted vision and especially alive , that gets stuck in a setting that does not do justice to the intentions . Arranged on a long catwalk , clothes and jewels of historic maisons seem performed , rather than exposed , as in a giant showcase : you appreciate one by one, for the preciousness of embroidery and stones , for the beauty of the fabrics or tangible furs , for the originality sought lines , but you don’t get the total value of this heritage . They are beautiful , all , and for different reasons , but the one that ‘s missing, is the overall view.